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What’s New: Audio Technology

Introduced to the U.S. market at AES 2006, Neumann's KMS 104 is an affordable high-quality handheld microphone for live performance applications.

What’s New:
Audio Technology

Oct 1, 2006 12:00 PM,
By Laura Dixon, Jessaca Massey, and Charissa Young


Introduced to the U.S. market at AES 2006, Neumann‘s KMS 104 is an affordable high-quality handheld microphone for live performance applications. The KMS 104 features all the same capabilities as the KMS 105, including optimized built-in high-pass filters for close miking. The new model also offers the choice of a cardioid polar pattern to yield the best rear sound rejection.
▪ Neumann |


Beyerdynamic‘s Opus 900 wireless system offers a variety of transmitters, making it ideal for a wide range of applications. Featuring rugged construction, powerful transparent sound, and an extraordinary price/performance ratio, the Opus 900 is designed to meet the rigorous operating criteria of multichannel systems for touring, theater, broadcast, and large installations. Three receivers, offering 99 pre-programmed frequencies, are available for the system: the NE 900 S single-channel, the NE 900 D dual-channel, and the NE 900 Q quad-channel receivers.
▪ Beyerdynamic


Drawmer‘s S3 stereo three-band optical 10-tube compressor forms the basis of its new Signature series. The S3’s signal path consists of high-performance I/O transformers, passive components, and 10 tubes (eight ECC83 and two 12BH7) configured as a fully balanced Class A design. Because the LDRs (Light-dependent Resistors) in the opto-compressors are temperature sensitive, the S3 houses an electronic “oven” that provides and sustains the optimum LDR operating temperature, thereby maintaining calibration accuracy and improving performance. A front-panel LED indicates temperature status.
▪ Drawmer |


Sennheiser has introduced three new microphone stands in 12in., 24in., and 32in. variants. The stands use a cable connection at the base rather than at the microphone itself, which allows plug-on wireless transmitters to be attached to the bottom of the stand or cables to be connected at the base. The stands are also fitted with a female XLR-3 connector and locking screw at the top to accommodate the gooseneck, and a right-angled male XLR-3 connector at the bottom.
▪ Sennheiser |


Onkyo has teamed up with guitar manufacturer Takamine to create a high-quality loudspeaker for audiophiles and audio engineers. The Onkyo D-TK10 rejects the inert-box acoustics of conventional speaker cabinetry in favor of a freely vibrating thin-wall enclosure based on high-end guitar construction. The 4in. cone woofer features Onkyo’s A-OMF (Advanced Onkyo Micro Fiber) monocoque diaphragm, which helps prevent driver breakup, even at high excursions. Upper frequency reproduction is handled by a 1in. ring-drive tweeter that is capable of flat frequency response all the way up to 100kHz.
▪ Onkyo |


Holophone‘s H3-D surround microphone uses the same technology as the company’s successful and patented H2-Pro. The H3-D portable 5.1 multichannel surround sound microphone is manufactured to automatically deliver 5.1 channels with no external mixing or signal manipulation required. It has a multi-directional pickup pattern with 20Hz to 20kHz frequency response on five perimeter channels and a discrete LFE microphone located inside. A windscreen and pistol grip are optional accessories.
▪ Holophone |


Mogami‘s Platinum series instrument cable helps maintain high-frequency content by reducing capacitance, resulting in a flexible, lightweight, larger-diameter, high-performance cable. It minimizes noise and delivers the most neutral tone quality that is physically possible — even in extended lengths. The cable carries the added benefit of using Neutrik’s NP2C-AU-Silent connector, with a rated life expectancy of 1 million connections, to connect to a guitar.
▪ Mogami |


Holophone‘s H4 SuperMini portable surround microphone uses Holophone’s Surround Audio capture technology. The discrete 5.1-channel camera-mountable mic comes equipped with an integrated multichannel preamp, monitor, and encoder. The H4 also offers six microphone elements with a bandwidth of 20Hz to 20kHz, a matrix-encoded stereo analog output, and six line-level analog outputs that are available at one per channel from three stereo 3.5mm female jacks.
▪ Holophone


Blue Sky’s Big Blue system is comprised of the SAT 12 three-way, tri-amplified mid-field monitor and the SUB 15 Universal 1000W subwoofer. Designed for critical listening applications in music mixing, this tri-amped design allows the system to effortlessly deliver clean and accurate sound with a frequency response of 45Hz to 30kHz +/-3.0dB (200Hz to 15kHz +/- 1.5dB). An innovative rotatable MF/HF plate enables the system to operate both vertically or horizontally.
▪ Blue Sky


MXL‘s new USB/cardioid condenser microphone is designed with ease of use in mind. As a plug-and-play device for Windows and Macintosh, the MXL.006 connects directly to a computer without the need for external mic preamps. It also features a large gold diaphragm that delivers a rich sound characteristic of studio and broadcast microphones and includes gain adjustment settings via the built-in three-position attenuation switch.
▪ MXL Microphones |


MXL‘s Mac-based iBooster interface is designed to raise any low-level input signal, such as microphones and electric guitar, to interface with the audio input level of a Mac. It also simplifies adding dialogue to a presentation, creating podcasts, or recording a musical performance. The interface works with MXL’s Desktop Recording Kit (DRK), which consists of a professional cardioid condenser mic, a mic clip, an XLR cable, an XLR-to-Mini-Plug adapter cable, a 3.5mm Mini-Plug-to-1/4in. adapter, and a power source.
▪ MXL |


Beyerdynamic‘s Revoluto microphone station is designed for use with the MCS-D 200 conferencing system to provide superior sound reproduction without the use of a gooseneck microphone. Using line array technology, the microphone capsules in the Revoluto create an omnidirectional pattern, allowing the speaker to move around without affecting the volume or sound quality. A multi-capsule design provides additional redundancy with no loss of pickup. In addition, the mic station’s low-profile design provides a clear view of the speaker.
▪ Beyerdynamic


Artison‘s RCC 600 subwoofer uses a patented Dual Driver Motor to produce lush bass and full-bodied sound. The reactance-canceling, vibration-free in-wall subwoofer also integrates Edgeless Surround technology to maximize the piston area while increasing XMAX in a standard 2″×4″ stud wall installation.
▪ Artison |


Royer Labs’ R-122V is the first commercially produced vacuum tube ribbon microphone available. The newest addition to the R-Series mic line, the monaural, bidirectional R-122V exhibits a flat frequency response and a well-balanced sound field, and provides an output of -37dB, approximately 13dB hotter than an R-121. The active circuitry provides optimum impedance to the ribbon element at all times, preventing over-damping of the ribbon element and assuring consistent microphone performance.
▪ Royer Labs |


WorxAudio‘s TL.218SS sub bass system uses a tuned port enclosure built from 21-ply Baltic Birch that is extensively braced for high cabinet rigidity. Available in powered and non-powered configurations, the TL.218SS — with dual TL.1801SS 18in. low-frequency transducers — is the ideal subwoofer for applications requiring maximum output with smooth, extended LF response. The subwoofer is built to truck pack dimensions for efficient transportation of multiple units and has a 1in.-thick enclosure coated with a weather-resistant, multi-layered, catalyzed polyurethane finish (available in a variety of colors).
▪ WorxAudio |


WorxAudio‘s 8M speaker system combines a 1in. exit compression driver with an 8in. cone woofer, making it a versatile high-performance system for the reproduction of speech and music program material. Manufactured from multi-cross-laminated, 13-ply Baltic birch for high cabinet rigidity, the 8M’s 3/4in.-thick enclosure is coated with a weather-resistant, multi-layered, catalyzed, black polyurethane finish to withstand years of use. Frequency range for the 8M is 48Hz to 19kHz (-10dB), while frequency response is 68Hz to 16kHz (-3dB).
▪ WorxAudio |


The latest in API Audio‘s 19in. rackmounted products, the 5500 dual equalizer is designed for recording, mixing, and mastering applications. The 1RU API 5500 is a 2-channel EQ package with an all-discrete signal path that combines the classic features of the API 550B four-band EQ module with the boost and cut precision of the 550d and the 550m mastering equalizer. Each channel features four independent bands of equalization (low, low-mid, high-mid, and high), covering a frequency range from 30Hz to 20kHz.
▪ API Audio |

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